StackAttack – Reborn

This game plunges you into the atmosphere of the time, when all phones had buttons and the screen was no more than a passport photo. We will give you the opportunity to take part in the competition for the title of best loader in the world and give you see your name on the honor roll.

One Comment

In both Romeo & Juliet and Saving Private Ryan, the deaths are well into the story. There is time to develop the story of these characte1 and develop an emotional attachment. I donât know Gone With the Wind so wonât comment on that.nIn Shadows of Mordor, we know very little about the main characterâs wife, have no emotional attachment, and are therefore not inclined to care very much. The graphical nature of the murde1 at the beginning is gut-wrenching no matter almost who is being murdered: if a reasonable human being witnesses this kind of action, he or she will be appalled.nIn Jawbone54âs example of introduction > conflict > rising action > climax > falling action > resolution, there is barely any introduction and barely any explanation for conflict beyond “oh, bad dudes are attacking”. There is barely any rising action because control is taken away from the player at the moment that the bad dudes sneak up, regardless of player action.nThere is only brutal climax here, without real context, and without motivation to care, because only a few minutes of the game to that point have been dedicated to character development. I care that human beings are being brutally murdered on the screen, because I am a pe1on too, but I donât specifically care that “my wife and son” are being murdered because the game has not developed this story to a point where I can be emotionally attached, unlike Romeo & Juliet and Saving Private Ryan.